Two geometrical shapes jumped off the pages in Parasha Tetzaveh: frames of gold and pomegranates. What often happens when we read and study the richly textured layers of Torah, a word, a phrase, a character, an incident, even a geometric design that we never encountered "before," suddenly appears. We just never saw it even when it was there all along (like the ram that was in the bushes, which Abraham didn't see until he really looked and saw what he needed). Why did the square frames and other geometric shapes resonate in me now?
The first shape is "frames of gold" [Exodus 28:11] which is then repeated in verse 13. The Hebrew word for "frames," mish-b'tzot, refers to a square frame. To set this phrase in context, let me fill you in on what is being commanded (tetzaveh). The specifically detailed instructions as to the building of the Sanctuary, which began in Terumah, continue with the descriptions of the priest's vestments, the ephod and the breastplate. The directions indicate that on the ephod, which is to be made of gold, of blue, purple, and crimson yarns, two lazuli stones are to be placed and engraved with the names of the sons of Israel. "Having bordered them with frames of gold, attach the two stones to the shoulder-pieces of the ephod, as stones for remembrance of the Israelite people, whose names Aaron shall carry upon his two shoulder-pieces for remembrance before the Lord. Then make frames of gold and two chains of pure gold; braid these like corded work, and fasten the corded chains to the frames" [Exodus 28:11-14]. Now while frames of gold may have some utilitarian purpose, these "frames of gold" must be there for another reason. But before revealing this "reason" that I have discovered, come first on a circuitous journey with me.
I have become fascinated with frame narratives (stories-within-stories), probably because of my name, Peninnah, which means "pearl" in Hebrew. The formation of pearls gives us a clue. A grain of sand acts as a catalyst to start the process of creating a repetitive overlapping structure causing light to be evenly refracted thousands of times, and giving the pearl its mysterious glow from within. And so there are circular "frames" around an inner core. Does not this image call to mind the Holy of Holies, that central rectangular inner place which encircles the ark, and that radiated the holiest of light from within, a place we all continue to reach for?
Two geometrical shapes jumped off the pages in Parasha Tetzaveh: frames of gold and pomegranates. What often happens when we read and study the richly textured layers of Torah, a word, a phrase, a character, an incident, even a geometric design that we never encountered "before," suddenly appears. We just never saw it even when it was there all along (like the ram that was in the bushes, which Abraham didn't see until he really looked and saw what he needed). Why did the square frames and other geometric shapes resonate in me now? The first shape is "frames of gold" [Exodus 28:11] which is then repeated in verse 13. The Hebrew word for "frames," mish-b'tzot, refers to a square frame. To set this phrase in context, let me fill you in on what is being commanded (tetzaveh). The specifically detailed instructions as to the building of the Sanctuary, which began in Terumah, continue with the descriptions of the priest's vestments, the ephod and the breastplate. The directions indicate that on the ephod, which is to be made of gold, of blue, purple, and crimson yarns, two lazuli stones are to be placed and engraved with the names of the sons of Israel. "Having bordered them with frames of gold, attach the two stones to the shoulder-pieces of the ephod, as stones for remembrance of the Israelite people, whose names Aaron shall carry upon his two shoulder-pieces for remembrance before the Lord. Then make frames of gold and two chains of pure gold; braid these like corded work, and fasten the corded chains to the frames" [Exodus 28:11-14]. Now while frames of gold may have some utilitarian purpose, these "frames of gold" must be there for another reason. But before revealing this "reason" that I have discovered, come first on a circuitous journey with me.
I have become fascinated with frame narratives (stories-within-stories), probably because of my name, Peninnah, which means "pearl" in Hebrew. The formation of pearls gives us a clue. A grain of sand acts as a catalyst to start the process of creating a repetitive overlapping structure causing light to be evenly refracted thousands of times, and giving the pearl its mysterious glow from within. And so there are circular "frames" around an inner core. Does not this image call to mind the Holy of Holies, that central rectangular inner place which encircles the ark, and that radiated the holiest of light from within, a place we all continue to reach for?
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1 comment:
Current events in Israel/Palestine have challenged me profoundly, silenced me, depressed me, compromising my ability to make the usual connections between my Judaism and the work of my hands. Fortunately, there's your blog to remind me of the creative points of contact between our treasured text and the creative life. Thank you.
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